Amar Akbar Anthony

Amar Akbar Anthony is a 1977 Indian Hindi-language masala film directed and produced by Manmohan Desai and written by Kader Khan. Released in India on 27 May 1977, the film stars an ensemble cast of Vinod Khanna, Rishi Kapoor, Amitabh Bachchan, Neetu Singh, Parveen Babi, Shabana Azmi, Nirupa Roy, Pran and Jeevan. The plot focuses on three brothers separated in childhood who are adopted by families of different faiths; Hinduism, Islam and Christianity. They grow up to be a police officer, a qawwali singer and the owner of a country bar, respectively.

For the Malayalam film, see Amar Akbar Anthony (2015 film). For the Telugu film, see Amar Akbar Anthony (2018 film).

Amar Akbar Anthony
Theatrical release poster
Directed byManmohan Desai
Written byKader Khan (dialogue)
K. K. Shukla (scenario)
Screenplay byPrayag Raj Sharma
Story byJeevanprabha M. Desai
Pushpa Sharma (story idea)
Produced byManmohan Desai
StarringVinod Khanna
Rishi Kapoor
Amitabh Bachchan
Neetu Singh
Parveen Babi
Shabana Azmi
Nirupa Roy
Pran
Jeevan
CinematographyPeter Pereira
Edited byKamlakar Karkhanis
Music byLaxmikant–Pyarelal
Anand Bakshi (lyrics)
Distributed byHirawat Jain & Co.
Release date
  • 27 May 1977 (1977-05-27)
Running time
184 minutes
CountryIndia
LanguagesHindi
Urdu[1][2]
Box officeest. ₹155 million (equivalent to ₹4.3 billion or US$54 million in 2023)[3]

The soundtrack album was composed by Laxmikant-Pyarelal and the lyrics were written by Anand Bakshi. The film was released on 27 May 1977 and earned ₹155 million (US$17.69 million) at the Indian box office, becoming the highest-grossing Indian film of that year, alongside Dharam Veer and Hum Kisise Kum Naheen.[3]

Religious tolerance became a landmark theme in Bollywood masala films,[4] building on the masala formula pioneered a few years earlier by Nasir Hussain's Yaadon Ki Baaraat (1973).[5][6] Amar Akbar Anthony also had a lasting impact on pop culture with its catchy songs, quotable one-liners, and the character of Anthony Gonsalves (played by Bachchan). It won several awards at the 25th Filmfare Awards, including Best Actor, Best Music Director and Best Editing. It was later remade in Tamil as Shankar Salim Simon (1978), in Telugu as Ram Robert Rahim (1980),[7] and in Malayalam as John Jaffer Janardhanan (1982). In Pakistan, the film was unofficially remade in Punjabi as Akbar Amar Anthony (1978).[8]

Plot

1955

On 15 August 1955, a former chauffeur named Kishanlal is released from jail after serving time for a fatal hit-and-run accident actually committed by Robert, the crime lord that he used to work for. Despite Robert's assurances that his family would be well looked after, Kishanlal comes home to find his wife Bharati suffering from tuberculosis and his three sons starving. Kishanlal seeks Robert's help, but Robert humiliates him instead and orders his henchmen to kill him. Kishanlal escapes in one of Robert's cars – which is carrying a load of smuggled gold bullion. Robert's henchmen give chase. Returning home, Kishanlal finds his sons abandoned by Bharati, who has left a suicide note. He stashes the children in Borivali Park for safety and drives away to draw off the pursuit; in an ensuing fiery car crash both mobsters and police presumed Kishanlal and his sons dead. He survives, and escapes with the gold.

In the park: the eldest son runs after Kishanlal, is struck by the pursuing car and is found by Hindu police Superintendent Khanna, who adopts him. The middle son leaves in search of food for his crying baby brother; Muslim tailor Mr. Ilahabadi finds the 'abandoned' baby and adopts him. Returning to find himself alone, the remaining brother, holding Bharati's suicide note, falls asleep on the steps of a nearby Catholic church, and the local parish priest Father Gonsalves adopts him.

Meanwhile, Bharati is struck blind by a falling branch following her suicide attempt, and is devastated when police inform her that Kishanlal and her sons are dead. Kishanlal returns to the park with the gold, only to find his sons gone. Believing he has lost his entire family, Kishanlal angrily swears vengeance on Robert for making him lose his family.

1977

22 years later, in 1977, the three sons are shown grown-ups with the names of Amar Khanna, Akbar Ilahabadi, and Anthony Gonsalves.

Amar Khanna is a Hindu police-officer, Akbar Ilahabadi is a Muslim qawwali-singer, and Anthony Gonsalves is a Christian liquor-seller. The three meet each other and become friends while donating blood to Bharati, who met with a hit-and-run accident while selling flowers. Meanwhile, Kishanlal has become a wealthy crime lord by using the gold bullion to form his own syndicate and drive Robert out of business, forcing a penniless Robert to work for him. Also, Kishanlal took in Robert's daughter Jenny as his own and sent her off for her studies abroad. Kishanlal and his men are forced to flee during a police raid at their loading dock, allowing Robert to escape with another shipment of smuggled gold after shooting Superintendent Khanna. With the new gold, Robert regains his position as crime lord and hires new mobsters with the intent of retrieving Jenny and getting vengeance on Kishanlal.

As the story unfolds, each of the brothers find themselves falling in love: Amar falls in love with a small-time crook Lakshmi after arresting her abusive stepmother, Akbar falls in love with a doctor named Salma Ali, and Anthony falls in love with Jenny at a church sermon on Easter Sunday. Bharati eventually regains her eyesight during a festival honouring the Sai Baba of Shirdi which is hosted by Akbar, whom she recognises as her youngest son Raju. Around the same time, Akbar saves Salma and her father Taiyyab from a house fire, and Taiyyab gratefully gives blessings to Akbar and Salma's relationship. This event led to both Amar and Akbar learning that Kishanlal and Bharati are their parents and that they're brothers.

However, things take a drastic turn when Kishanlal gets betrayed by one of his bodyguards Zebisco, who kidnaps Jenny and sells her out to Robert in exchange for her hand in marriage. Father Gonsalves attempts to rescue Jenny, but ends up being murdered by Robert; Lakshmi also ends up being kidnapped by her evil stepbrother Ranjeet, who works for Robert as well. Upon hearing what happened to Father Gonsalves, Anthony soon learns that Kishanlal and Bharati are his parents and that both Amar and Akbar are his brothers. With the knowledge that they are related and realising what just happened, the brothers are determined to make Robert and his men pay for their crimes. As such, Amar, Akbar, and Anthony disguise themselves and enter Robert's house along with Salma, who helps Jenny and Lakshmi escape. The brothers then reveal themselves before beating Robert and his men (including Ranjeet and Zebisco) and having them all arrested for their crimes. However, Bharati is distraught to learn that Kishanlal has also been arrested for his past crimes, but Kishanlal comforts Bharati as the only thing that matters to him is that their family is reunited once again. To prove more on his point, Kishanlal is briefly released only to give his sons a hug. The film ends with Amar, Akbar, and Anthony happily riding along with Lakshmi, Salma, and Jenny in the sunset.

Cast

Main

Supporting
  • Mukri as Taiyyab Ali (Salma's father)
  • Ranjeet as Ranjeet (Lakshmi's stepbrother)
  • Yusuf Khan as Zebisco (Jenny's bodyguard)
  • Helen as Fake Jenny
  • Kamal Kapoor as Superintendent Khanna (Amar's adoptive father)
  • Shivraj as Mr. Ilahabadi (Akbar's adoptive father)
  • Nazir Hussain as Father Gonsalves (Anthony's adoptive father)
  • Prathima Devi as Lakshmi's grandmother
  • Nadira as Lakshmi's stepmother
  • Moolchand as Pedro (Robert's friend)

Production

"You see the whole country of the system is juxtapositioned by the hemoglobin in the atmosphere, because you are a sophisticated rhetorician intoxicated with the exuberance of your own verbosity."

—Anthony Gonsalves, in his monologue preceding the "My Name Is Anthony Gonsalves" sequence[9]

Amar Akbar Anthony has a cinematic antecedent in Yash Chopra's 1965 film Waqt, in which a father's three sons are separated from each other. Waqt also inspired the 1976 super-hit diamond jubilee Pakistani film Talash, starring Shabnam and Nadeem. However, Amar Akbar Anthony was slated to release in 1975, prior to Talash's release.[10][11]

Prayag Raj wrote the film's screenplay, while Kader Khan wrote the dialogue.[12]

The character of Anthony Gonsalves was named after the famous composer and teacher of the same name, whose pupils included Pyarelal (of Laxmikant–Pyarelal, the composer duo of the film) and R. D. Burman.[13][14] Director Manmohan Desai had planned for Amitabh's character to be named “Anthony Fernandes,” with Bakshi's song entitled “My Name is Anthony Fernandes.” However, the song didn't go well with Laxmikant-Pyarelal. Composer Pyarelal then recalled his famous violin teacher and suggested that the character's last name be changed to “Gonsalves.”[13][15] The nonsensical monologue preceding the "My Name Is Anthony Gonsalves" sequence was taken in part from a 1878 speech by British politician Benjamin Disraeli in reference to W. E. Gladstone.[13]

Filming

Amar Akbar Anthony was Manmohan Desai's first film as an independent film producer. The film was shot over a month at Ranjit Studios in Mumbai. Some exterior and interior shots were filmed at the Mount Mary Church in Bandra, Mumbai and at the Don Bosco School, Wadala, Mumbai respectively.[13][16] Shooting was scheduled so that the entire cast didn't have to appear together except for the climactic sequence and the title song ("Anhoni Ko Honi"), where they all perform as a group. However, the shooting went over schedule, which required Rishi Kapoor and Shabana Azmi to shoot their scenes separately so they could leave towards the end of production to work on other films.

Analysis

Amar Akbar Anthony incorporates a strong element of secularism[17] within a Bollywood masala film. Analysts such as Virdi (2003) and Kavoori & Punathambekar (2008) opine that the themes of Desai's "magnum opus" include religious pluralism and secular nationalism.[18][19] Philip Lutgendorf hints that the separation of the three children on Indian Independence Day is akin to the Partition of India.[20] Similarly, Vijay Mishra (2013) argues that the film reaffirmed India's "liberal ethos." [21] The three religions represented by the titular characters are the "pillars of the nation:" when they work together, they can restore life to their mother (represented when they donate blood during the opening title sequence) and beat any evil (symbolised by their common villain).[22] The characters' reunion with their parents completes the nationalistic allegory,[18][19] suggesting that what was lost at independence can be regained.[23]

The film's masala style is evident in its plot and characters. According to Varia (2013), Amar Akbar Anthony was conceived as a tragedy but later incorporated many other genres.[24] Dickson (2016) commented that the film featured a plot which would "give even Shakespeare migraines."[25] Some authors also highlight the archetypal character of the suffering and self-sacrificing mother (Roy).[26] However, Dinesh Raheja concludes that "ultimately, the show belongs to Amitabh Bachchan. In a tailor-made role, he has the audience in stitches. Despite his playing an implausible character, one quickly surrenders one's reservations in favour of a rollicking romp."[27]

Music
Amar Akbar Anthony
Soundtrack album by
Laxmikant-Pyarelal
Released7 January 1977
GenreFeature Film Soundtrack
LabelUniversal Music India
ProducerManmohan Desai

Amar Akbar Anthony's soundtrack was composed by Laxmikant-Pyarelal, with lyrics penned by Anand Bakshi. It proved as popular and successful as the film itself. The vinyl record, released on Polydor, was the first LP that was coloured pink.

Some of the biggest names in the Indian music industry of the time provided vocals for the film's songs. Four leading playback singers Lata Mangeshkar, Kishore Kumar, Mohammed Rafi and Mukesh, sang together for the first and only occasion in their careers on "Humko Tumse Ho Gaya Hai Pyar."[13] In this song Kishore sang for Amitabh Bachchan, Rafi sang for Rishi Kapoor, Mukesh for Vinod Khanna while Mangeshkar sang for Shabana Azmi, Neetu Singh, and Parveen Babi. The film also features a comical filmi qawwali entitled "Parda Hai Parda" ("There Is a Veil"), sung by Rafi.[28] Other musical legends who worked on the film include Mahendra Kapoor and Shailendra Singh.

Original tracklist[29][30]
No.TitleSinger(s)Length
1."Ye Sach Hai Koi Kahani Nahin"Mohammed Rafi02:22
2."Amar Akbar Anthony"Kishore Kumar, Mahendra Kapoor, Shailendra Singh05:52
3."Humko Tumse Ho Gaya Hai Pyar"Lata Mangeshkar, Kishore Kumar, Mohammed Rafi, Mukesh07:33
4."Taiyabali Pyar Ka Dushman"Mohammed Rafi04:40
5."Parda Hai Parda"Mohammed Rafi; Uncredited: One line sung by Amit Kumar[31]07:59
6."Shirdi Wale Sai Baba"Mohammed Rafi05:52
7."My Name Is Anthony Gonsalves"Kishore Kumar, Amitabh Bachchan05:32

Release

The Emergency Period delayed the release of several of Manmohan Desai's films. As a result, four of Desai's films, Dharam Veer, Chacha Bhatija, Parvarish, and Amar Akbar Anthony, were released in 1977.[32][33] Incidentally, all of these would be amongst the top-grossing films of the year.[3]

Marketing

For the film's marketing, erasers with the images of Vinod Khanna, Rishi Kapoor, and Amitabh Bachchan were sold to students.[34] Posters, postcards, and song booklets of the film were sold in shops. Colorful vests and metal crosses that were similar to the ones worn by Bachchan in the film achieved popularity.

Reception

The film grossed ₹155 million (US$17.69 million) at the Indian box office and was the highest-grossing Bollywood film at the Indian Box Office for the year 1977.[3] It has since been regarded as one of the most iconic films of Indian cinema.[35]

Adjusted for inflation, the film has grossed approximately ₹423 crores ($51 million) as of 2023.

Accolades
Award Category Recipients and Nominees Results
25th Filmfare Awards Best Actor Amitabh Bachchan Won
Best Music Director Laxmikant–Pyarelal
Best Editing Kamlakar Karkhanis
Best Film Manmohan Desai Nominated
Best Director
Best Lyricist Anand Bakshi for "Parda Hai Parda"
Best Male Playback Singer Mohammed Rafi for "Parda Hai Parda"

Bibliography
  • Booth, Gregory D. (2008). Behind the curtain: Making music in Mumbai's film studios. Oxford University Press. ISBN 978-0-19-971665-4.
  • Elison, William; Novetzke, Christian Lee; Rotman, Andy (2016). Amar Akbar Anthony: Bollywood, brotherhood, and the nation. Harvard University Press. ISBN 9780674504486.
  • Haham, Connie (2006). Enchantment of the mind: Manmohan Desai's films. Roli Books. ISBN 978-81-7436-431-9.

Further reading

References
  1. Sadana, Rashmi (2 February 2012). English Heart, Hindi Heartland: The Political Life of Literature in India. University of California Press. p. 45. ISBN 978-0-520-26957-6. Archived from the original on 31 August 2023. Retrieved 23 March 2022.
  2. Elison, William (4 January 2016). Amar Akbar Anthony: Bollywood, Brotherhood, and the Nation. Harvard University Press. p. 87. ISBN 978-0-674-49599-9. Archived from the original on 31 August 2023. Retrieved 23 March 2022.
  3. "Box office 1977". Box Office India. 2011. Archived from the original on 12 October 2012. Retrieved 6 August 2013.
  4. Dwyer, Rachel (2005). 100 Bollywood films. Lotus Collection, Roli Books. p. 14. ISBN 978-81-7436-433-3. Archived from the original on 20 September 2016.
  5. Sharma, Devansh (2 November 2018). "Yaadon Ki Baaraat: Nasir Hussain's 1973 potboiler initiated Hindi cinema's transformation into 'Bollywood'". Firstpost. Archived from the original on 9 February 2019. Retrieved 5 February 2019.
  6. Manwani, Akshay (8 January 2018). "Yaadon Ki Baaraat: The quintessential bollywood film". Daily News and Analysis. Archived from the original on 9 February 2019. Retrieved 5 February 2019.
  7. ET Bureau (20 September 2008). "Transcending language barrier". The Economic Times. Archived from the original on 8 October 2012. Retrieved 12 June 2012.
  8. Rabe, Nate (2 September 2017). "Sounds of Lollywood: The big difference between 'Amar Akbar Anthony' and its Pakistani rip-off". Scroll. Archived from the original on 15 July 2020. Retrieved 13 July 2020.
  9. Heyman, Michael; Satpathy, Sumanyu; Ravishankar, Anushka (2007). The tenth rasa: An anthology of Indian nonsense. Penguin Books India. p. 133. ISBN 978-0-14-310086-7. Archived from the original on 7 January 2014.
  10. Dasgupta, Rohit K.; Datta, Sangeeta (2019). 100 essential Indian films. Rowman & Littlefield. p. 6. ISBN 9781442277984. Archived from the original on 31 August 2023. Retrieved 19 November 2020.
  11. "Talash". Pakistan Film Magazine. n.d. Archived from the original on 17 July 2019. Retrieved 17 July 2019.
  12. "Excerpt: Amar Akbar Anthony". Mint. 3 August 2013. Archived from the original on 6 August 2013. Retrieved 6 August 2013.
  13. Roy, Gitanjali (8 May 2013). "10 things you didn't know about Amar Akbar Anthony". NDTV Movies. Archived from the original on 15 July 2013. Retrieved 3 August 2013.
  14. Booth, p. 3
  15. Booth, p. 5
  16. San Miguel, Helio (2012). Mumbai. World Film Locations. Intellect Books. p. 42. ISBN 978-1-84150-632-6.
  17. Mohamed, Khalid (31 January 2018). "Muslims in the movies: The good, the bad, and the Khilji". The Quint. Archived from the original on 2 February 2018. Retrieved 3 February 2018.
  18. Virdi, Jyotika (2003). The cinematic imagiNation: Indian popular films as social history. Rutgers University Press. p. 36. ISBN 978-0-8135-3191-5.
  19. Kavoori, Anandam P.; Punathambekar, Aswin (2008). Global Bollywood. NYU Press. p. 128. ISBN 978-0-8147-2944-1.
  20. Lutgendorf, Philip (2014). "Amar Akbar Anthony". Indian cinema. University of Iowa. Archived from the original on 27 June 2013. Retrieved 6 August 2013.
  21. Mishra, Vijay (2013). Bollywood cinema: Temples of desire. Routledge. p. 203. ISBN 978-1-135-31099-8.
  22. Damsteegt, Theo, ed. (2003). Heroes and heritage: The protagonist in Indian literature and film. Leiden University. p. 217. ISBN 978-90-5789-090-1.
  23. Nochimson, Martha P. (23 September 2011). World on film: An introduction. John Wiley & Sons. p. 266. ISBN 978-1-4443-5833-9.
  24. Varia, Kush (2013). Bollywood: Gods, glamour, and gossip. Columbia University Press. p. 34. ISBN 978-0-231-50260-3.
  25. Dickson, Andrew (2016). Worlds elsewhere: Journeys around Shakespeare's globe. Henry Holt and Company. p. 200. ISBN 978-0-8050-9735-1. Archived from the original on 31 August 2023. Retrieved 12 December 2019.
  26. Breckenridge, Carol A., ed. (1995). Consuming modernity: Public culture in a South Asian world. University of Minnesota Press. p. 166. ISBN 978-0-8166-2305-1.
  27. Raheja, Dinesh (22 March 2003). "Amar Akbar Anthony: Whoop-it-up fun!". Rediff.com. Archived from the original on 24 July 2017. Retrieved 3 February 2018.
  28. Morcom, Anna (1 January 2007). Hindi film songs and the cinema. Ashgate Publishing. p. 82. ISBN 978-0-7546-5198-7. Archived from the original on 23 March 2016.
  29. "Amar Akbar Anthony (Original motion picture soundtrack)". Apple Inc. January 1981. Archived from the original on 31 January 2018. Retrieved 3 February 2018.
  30. "Amar, Akbar, and Anthony soundtrack credits". IMDb. Archived from the original on 4 November 2014. Retrieved 3 November 2020.
  31. Diptakirti Chaudhuri, "Bollygeek: The Crazy Trivia Guide to Bollywood", Hachette India, 2021.
  32. Whitener, Brian (2007). "Amar Akbar Anthony". Movies & TV Dept. The New York Times. Archived from the original on 13 November 2007. Retrieved 6 August 2013.
  33. Ganti, Tejaswini (5 March 2013). Bollywood: A guidebook to popular Hindi cinema. Routledge. p. 223. ISBN 978-0-415-58384-8.
  34. "100 Filmfare Days: 49- Amar Akbar Anthony". Filmfare. 10 June 2014. Archived from the original on 1 February 2018. Retrieved 3 February 2018.
  35. "70 iconic films of Indian cinema". Mint. 18 August 2017. Archived from the original on 26 October 2017. Retrieved 3 February 2018.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.